Three Hotels: Plays and Monologues

Summary

One of the Ten Best Plays of the Year! No longer merely promising, Jon Robin Baitz is now a major playwright.’” Time Magazine

"Jon Robin Baitz is the American theatre's most fascinating playwright of conscience. Three Hotels packs an emotional punch that lingers."--Michael Kuchwara, Associated Press

Dazzling audiences with the linguistic artistry, keen insights and comprehensive vision of Three Hotels, Jon Robin Baitz enhances his reputation as one of America’s most important playwrights. In three dramatic monologues that progress from intellectual cynicism to heartbreaking honesty, he reveals the emotional and physical wounds sustained by the foot soldiers of the conglomerates operating in Third World countries and, by extension, by all Americans adrift in the seas of international commerce and politics.Also included are several shorter works (Four Monologues, Coq au Vin, It Changes Every Year and Recipe for One, or A Handbook for Travelers), each of which, like Three Hotels, is the fervent prayer that there will be something in this wrecked world to salvage.”

Jon Robin Baitz is the author of The Film Society, Other Desert Cities, The End of the Day, and The Substance of Fire, which he adapted into a major motion picture. He was the showrunner on ABC’s Brothers & Sisters. He also wrote the screenplay for the upcoming film Stonewall directed by Roland Emmerich. He lives in New York.

Three Hotels - Jon Robin Baitz

Reviews

THREE HOTELS

An earlier version of Three Hotels, produced by Public Television’s American Playhouse in 1990, was directed by the author and won him a Humanitas Award.

Three Hotels was orignially produced on the stage in July 1992 by New York Stage and Film Company in association with the Powerhouse Theater at Vassar College, under the author’s direction. Later the same summer the play was produced by the Bay Street Theatre Festival in Sag Harbor, New York, under the direction of Joe Mantello.

Three Hotels was produced by Circle Repertory Company, New York City, Tanya Berezin, Artistic Producer, in March 1993. Joe Mantello directed the following cast:

Debra Monk took over the role of Barbara Hoyle in May.

CHARACTERS

Kenneth Hoyle

Barbara Hoyle

PLACE

Part One: The Halt & the Lame

Tangier, Morocco

Part Two: Be Careful

St. Thomas, Virgin Islands

Part Three: The Day of the Dead

Oaxaca, Mexico

PART ONE:

THE HALT & THE LAME

TANGIER, MOROCCO

A hotel suite. An air of faded Edwardian quietude hangs heavy in the air. Kenneth Hoyle stands for a moment in thought. He has on a rather exquisite summer suit. There are manila files, papers, old copies of the London Financial Times, etc., scattered about the room.

HOYLE: The first thing I want to say is, this is an interesting market. This little corner of Africa here. And it’s been a particularly bloody morning here in Morocco, let me tell you. Because one of the interesting things about this market is we lose more money here than anywhere else in the world. Which believe me, is saying a lot. Because we lose money everywhere.

So this entire morning has been about cutting away the deadwood, and when I say deadwood, think of a petrified forest, okay? Letting people go. That sort of thing. And gruesome work it is. I mean, to fly in and check into some hotel and tell people it’s over is not exactly . . . a joyride.

Markets. At World Headquarters in Los Angeles, we have a sort of War Room. And there is a map. A lucite map of the world, upon which our competition appears as a sort of huge orange cancer encroaching. This is the same orange as the drink Fanta which is popular in my markets.

(Beat)

Third World Markets. (They like us to say Developing Nations which is slightly laughable given just how little development occurs.)

(He goes to drinks tray and takes his time mixing a martini)

I sometimes think that if we could color our product, which is powdered baby supplement, a powdered-milk formula, if we could just color our product orange like this drink Fanta, a fun color, appealing to the natives, we might increase our sales threefold overnight.

Five’ll get ya ten, I say at our meetings in the War Room, that if this baby formula were bright orange, fizzy and sweet, we’d knock ’em dead in Lagos. Gets a bit of a laugh out of Mulcahey and Kroener who begrudge me not at all my little bits of gallows jokery so long as I perform for them. Gotta perform. This has come to mean, it appears, that I let people go. This morning I’ve had, well, today is a sort of a red-letter day when it comes to unemployment for many. Fraiser, Conclon, Truitt, DeWitt, and just now, Varney.

(He takes a long drink from his martini)

Who had come up through the International Division with me. I mean we started at the same time. Twenty some years ago. They handed him this entire market. All of North Africa. Handed it to him. And he blew it. His little thing? Little boys. Loved the little native boys. But it was not that which stalled his progress through the International Division. No.

(He sighs)

I did warn him. We had dinner last month in Nairobi. I said "Kroener and Mulcahey are going to want to see something soon." A clear, clear bloody flat-out warning to this buffoon, and I did it as a favor to him because we came up together. But he kept going on and on about the little salesgirls he found, nut-brown little milkmaid-gals, he called them. And implied a number of them were willing. And one sits there mortified, knowing, wanting to just get up and say, Hey pal, nobody gives a fuck if your cock is twisted, just so long as the fourth-quarter profits are flyers.